Sorry, I watched the video twice, even muted the hypnotic music the second time, and I have no idea what it was about. First it talks about Arri, but suddenly talks about Sony F3. So which is it? What about other cameras? Then again, the text moves in and out faster than I could read, so maybe that is why I did not get it. I really wish someone was talking instead of the fast moving text and the annoying background music.

Why not just use floating point numbers and fit the full scale between 0 and 1? Thatís what all editors use internally anyway. And when you are finished editing, your output is not logarithmic, so what is the point of having all the range you cannot use anyway? Unless you want to release it on film, you can normally only use what the MPEG standard allows, and that is not much.

Loved the sound track. And my understanding of S-Log took a quantum leap in a positive direction. Yes, the pause button was handy, necessary, but I’m a slow learner even as the story was well told. Now when I get me an F3...

One ? is what's the workflow to get the DPX files editable in the NLE? I don't believe FCP can use DPX, and I know Avid Media Composer can't. And I'm not aware of DPX transcoding programs other than Glue Tools.

One ? is what's the workflow to get the DPX files editable in the NLE? I don't believe FCP can use DPX, and I know Avid Media Composer can't. And I'm not aware of DPX transcoding programs other than Glue Tools.

But I do think the video was fantastic.

I would have thought MC can handle DPX.

So, Premiere Pro is the only major NLE that can import DPX? (I know because I usually export DPX from After Effects and use within PPro).

I think Cineform can transcode DPX to Cineform.

Also, in one of my FXPHD classes, they used AE to convert a very large number of shots using expressions and possibly a script (to use as proxies).